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YANG STYLE

TAUIOUAN

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YANG STYLE

TAIJIQUAN Compiled by MORNING GLORY PRESS

HAI FENG PUBLISHING CO. Hong Kong &

MORNING GLORY PRESS Beijing, China

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Editor: Yu Shenquan Editorial consultants: Yang Yashan and Wang J Photographer: Zhang Chimben Cover ¡llustration: Li Shiji

jfoZ ?' ©Hai Feng,Publishing Co., 1988 ISBN 962-238-092-1 Published by HAI FENG PUBLISHING CO. Rms. 901-3, Wing On House, 71 Des Voeux Road Central, 9/FL, Hong Kong and MORNING GLORY PRESS (formerly Zhaohua Publising House) Chegongzhuang Xilu 21 Beijing, China Printed by C & C JOINT PRINTING CO. (H.K.) LTD. 75, Pau Chung St. Kowloon, Hong Kong First Edition 1988 All rights reserved 7-297-67

00900

7-E-1682P

CONTENTS Foreword • The Evolution of the Yang School of Taijiquan Talks on the Practice of Taijiquan The Ten Essentials of Taijiquan Some Important Points Concerning the Yang School of Taijiquan Taijiquan an Exercis% for the Whole Body Correct and Wrong Forms, Postures and Movements Ñames of the Forms of the Yang School of Taijiquan Illustrations of the Yang School of Taijiquan How to Use Taijiquan (With Illustrations) Ñames of the Forms of Application of the Yang School of Taijiquan

1 4 10 13

255

About the Author

290

16 19 21 31 34 252

FOREWORD Yang Zhendu» China is a nation with a long history and a splendid culture. The Chínese people have made great con tribu tions to the civilization of the world, one of which is taijiquan which has become popular among the people of many countries and regions. After the founding of new China in 1949, fruitful efforts have been made to inherit and carry forward wushu, a gem of China's cultural heritage, and taijiquan, a component of wushu, has developed as never before. In 1956, a simplified set of taijiquan (in 24 forms), based on the most popular sequences of the Yang Chengfu school, was compiled and popularizad. This was followed three years later by the compilation of a more comprehensive set of taijiquan in 88 forms (referred to hereafter as "National Forms"). With the popularizaron of these National Forms, interest in the study and mastery of taijiquan of the Yang school soon spread across the nation. While these developments gladden my heart in no small measure, I feel somewhat uneasy because there are not enough coaches for the growing number of taijiquan followers. As I had the opportunity to learn taijiquan from my father Yang Chengfu and eider brothers Yang Zhenming and Yang Zhenji in my youth, I would like to write down what I have learnt and re,cord my experience which, I hope, will be of some valué to all taijiquan enthusiasts. Evolved from the Chen school of taijiquan, the Yang school has an unicue style of its own. Its main characteristics are: a closely knit series of relaxed and composed, even and flowing movements that combine strength with resilience and vigour with gentleaess, with the trunk ercct as the axis of all movements. Regular practice of this set of taijiquan exercises will not only benefit one's physical well-being, but also give the trainee artistic enjoyment. It is exfremely important, however, to perform correctly so as to bring out fully the unique style of the Yang school's taijiquan. I sincjrely hope that this book will be of help to one and all. Taijiquan has undergone 19 generations of development, from the last years of the Ming Dynasty (1368-1644) down to the present. Study and research of the methods and theories of this art have been carried out over 1

the years by masters of the older generations, and the fruits of their work have provided us with important inforraation for today's further exploration. It is no exaggeration to say that taijiquan would not have gained popularity today had it not been for the valuable work of past masters of tfn art. We must realize, however, that to make a direct reprint of the works of the past and present them to our students of today is not the be:t way. For one thing, those works were v/ritten mainly for people who had a good command of the fundamentáis, and so the explanations of the methods of practice and ways of using the movements were too brief for beginners to follow. In view of this, I have tried my best to make the explanations simple and easy to understand. The contents of this book consists of two parís: 1. General knowledge of the Yang schooi of taijiquan. This part ineludes Talks on the Practice of Taijiquan and The Ten Essentials of Taijiquan, which he narrated to his disciples, as well as illustrations of the traditional movements of the Yang schooi of taijiquan. There is also a chapter on how to comprehend and master the essentials of taijiquan based on my own experience, and answers to questions often confronting beginners. To help learners correct their mistakes, photos with explanations of wrong and right postures are attached. 2. Methods of practice and ways of using taijiquan movements constitute the main contents of the book. In the chapter on methods of practice, there are 104 photos of my father, 94 showing him doing the taijiquan movements and 10 doing the hand push, which were originally pul:lished in A General Guide for Practice and Usage. But as these photos only show the finishing posture of each form without the transitional movements, they may be difficult for beginners to follow. To overeóme this drawback, a set of photos showing the transitional movements are added. It would be better if dotted and solid lines were drawn to depict each movement of the routine, but then this would have spoiled the genuineness of the photos. So I have refrained from doing so. As a compensation, more photos of the transitional movements, altogether 570, are given in this book. The main contents of the chapter on the ways of using taijiquan movements are based on the book Usage and Variations of Taijiquan, with Ulnstrated Demonstraíions by Two, written by my brother Yanr; Zhenming. In his book, there were 37 photos of my father doing taijiquan, which I intended to include in this chapter for our readers to imítate. But unfortunately the negatives have become too blurred and are not fit for reprinting. To make up 2

for this, I did my best to imítate his movements and had photos taken, but I doubt whether I have sueceeded. The ways of using taijiquan movements here are, of course, based on suppositions, and are designed according to the essentials of taijiquan. It is impossible to follow this pattern of movements when actually using them, for in an actual fight, for instance, the situations are much more complicated and they change rapidly. That is to say, one has to act on the spur of the moment and take steps suited to the circumstances. It is the mastery of the basic techniques that determine the ability to make the best use of the movements. Henee the importance of daily strict training according to the requirements in order to be able to use them to suit the occasion. No matter how one use them, one has to follow the basic rules. This is what is meant by "understand the rules, follow the rules and use them to the greatest advantage." It should be pointed out that the main purpose of the chapter on usage is to deepen the understanding of the trainees so that they can get the most benefit from it. Explanations on usage are therefore brief so that the trainees will learn the essence of the movements without following them mechanically. Over the past three centuries, the popularity of taijiquan has increased and spread far beyond China's borders to Southeast Asia, Japan, Europe and America. This is an indication of its immense valué to men's health, as has been testified by practice and research. Taijiquan is indeed a good exercise which, performed regularly, helps one keep fit, prevenís and cures diseases, slows down the pace of growing oíd and prolongs Ufe. This is perhaps why so many people, both at home and abroad, take to taijiquan, with some devoting to the research of its theory. It is my hope that this book will be of help to readers and will stimulate general interest in this traditional Chínese art. Any suggestions or comments on this book are sincerely welcome. Here I would like to express my heartfelt thanks to Xie Wende, Li Jiren and others of the Institute of Taijiquan of the Yang School in Shanxi Province for the unstinting help they have given me in compiling this book.

3

THE EVOLUTION OF THE YANG SCHOOL OF TAIJIQUAN by Gu Liuxin Yang Fukui (1799-1872), better knowa as Yang Luchan, was born in Yongnian County in north China's Hebei Province. Because of poverty, he had to leave his home village at the age of ten for Chenjiagou in Wenxian County in central China's Henan Province to make a living. He served as an attendant in the Chen family there and learned the "Lao }ia" ("Oíd Frame") style of íaijiquan as well as "Tui Shou" (push-hands) and combat with weapons from the famous Chínese boxing master Chen Changxing (1771-1853). After thirty years of industrious study and practice, he returned to Yongnian. Before his departure for his home village, Chen Changxing told him that since he had become skilful wushu master, he would not have to worry about food and clothing for the rest of his Ufe. When Yang Luchan returned to Yongnian County, he put up at the Tai He Tang drugstore, which was run by the Chen family of Chenjiagou. The house belonged to the Wus, and their three brothers — Wu Chengqing, Wu Heqing and Wu Ruqing —were all enthusiasts of the folk martial art. They admired Yang Luchan's superb skill and learnt wushu from him. The local people in Yongnian County held Yang Luchan in high esteem and praised his taijiquan as "cotton boxing", "soft boxing" or "solvent boxing" for its wonderful effects in overcoming the strong and beating the adversary without injuring him and for its flexible attacking and defending tactics. At that time, Wu Ruqing was a councillor in the Sichuan office of the judicial department of the imperial court. He recommended Yang Luchan to teach taijiquan in the ancient capital city of Peking where many nobles and kinsmcn of the Qing Dynasty learnt wushu from him. The House of Prince Duan, one of the royal families in the capital, had employed a large number of boxing masters and wrestlers, and some of them were anxious to have a trial of strength with Yang Luchan, but lie invariably declined their challenge politely. One day a famous boxing master of high prestige insisted on competing with him to see who was the stronger. The boxer suggested that they sit on two chairs and pit their right fists against 4

each other. Yang Luchan had no choice but to agree. Shortly after the contest began, that boxing master started to sweat all over and his chair creaked as if it was going to fall apart. But Yang Luchan looked as composed and serene as ever. Then he got up and in a gentle tone to the onlookers: "The master's skill is indeed superb. Only his chair is not as firmly made as mine." The man was so moved by his modesty that he never failed to praise Yang's exemplary conduct and unmatched wushu skill. Later on, whenever anyone wanted to try his prowess with Yang Luchan, he would throw the challenger to the ground without injuring him. In this way, Yang Luchan gained great fame and high prestige and was nicknamed "Yang the Invincible." He was later appointed a wushu officer in the Qing court with the rank higher than the seventh-grade official. When he paid a visit to Chenjiagou to see his oíd friends, he received a warm welcome. At that time there was a wushu master named Liu who had taught thousands of students. One day he challenged Yang Banhou (1837-1892), who was one of Yang Luchan's sons, to a contest. Yang Banhou, who was then in the prime of youth and a bit bellicose by nature, accepted the challenge without hesitation. During the contest which attracted hundreds of people, Yang Banhou sent his opponent reeling to the ground several metres away with a stunning blow of his palm. Since then, Yang Banhou was also called "Yang the Invincible". The number of people wishing to learn wushu began to increase. To meet popular needs, Yang Luchan gradually deleted from the series of movements such difficult actions as jumps and leaps, explosión of strength and vigorous foot stamping. After revisions by his third son Yang Jianhou (1839-1917), this series of movements carne to be known as "Zhong Jia" (Médium Frame"). Later, it was again revised by Yang Chengfu (18831936), the third son of Yang Jianhou, which finally developed into the present "Da Jia" ("Big Frame") style because of its extended and natural posture, slow and even movements. It was different from his únele Yang Banhou's style which was known under the ñame "Xiao Jia" ("Smaü Frame"). This is now the most popular Yang school of taijiquan. The Yang school of taijiquan was born out of the Chen school of taijiquan which was known as "Lao Jia" ("Oíd Frame"). The movements are relaxed, even and graceful like the drifting clouds and flowing stream, quite unlike the Chen style which altérnates slow with quick movements, and vigorous with restrained and controlled actions. The performance of the Yang style of taijiquan is terse and simple and always follows a circular path, just like "reeling off raw silk from a cocoon." The movements are na5

turally combined with breathing which should be deep and should "sink to the dan tian" ( a point in the lower belly slightly below the navel). Here again it is quite different from the Chen style which combines "sink deep breath to the dan tian" with "breath circulation in the lower belly". Good for the health and known for its curative effects, the Yang school of taijiquan which is easy to learn has caught the fancy of an increasing number of people, and that is why it is more popular than the Chen school. The magnificent skill of three generations of the Yang family won them great renown throughout the capital. What was noteworthy was the fact that they unstintingly passed on their skill to many young people, which is perhaps one of the reasons why there are so many followers of the Yang school of taijiquan today. In 1928, Yang Chengfu was invited to teach taijiquan successively in Nanjing, Shanghai, Hangzhou, Guangzhou and Hankou. Thus the Yang school of taijiquan spread throughout the country. Noted for its extended and natural postures, welí-knit gentle and steady movements, the Yang style of taijiquan combines vigour with gentleness, with its actions following a circular path. Each and every form or movement contains the technique of countering and overpowering the adversary. The Yang school of taijiquan has three "frame" forms — high, médium and low. The learner may determine the amount of exercise in accordance with his or her age, physical conditions and specific requirements (such as keeping fit, preventing and curing diseases, physical training and recreation and competition). Because the movements are extended and natural, gentle and lissom, graceful and uníque in style, as well as simple and éasy to learn, the Yang school of taijiquan has won the f avour of large number of wushu enthusiasts. Yang Chengfu, one of the founders of this school, was a great wushu master of his time. Whenever he practised taijiquan, he strictly followed the routines and was never lax in his movements. This is evident from the illustrations in this book. The movements of his entire body embody the quintessence of taijiquan exercises. Yang Chengfu once said: "Taijiquan is an art with strength concealed in the gentle movements, like an 'iron hand in a velvet glove' or a needle concealed in cotton." He cautioned learners to always keep to the roundness and relaxation in their movements which, he said, must be gentle, natural, flexible and smooth as well as synchronized with one's mind. Actually, this is a summing-up of his own experience and attainment. 8

After Yang Chengfu carne to the southern part of the country, he gradually realized that taijiquan had the efficacy of treating chronic disease, building up one's health and bringing longevity. When he gave taijiquan exhibitions in the "Zhirou Wushu Association" during his early days in Shanghai, which was set up by his disciple Chen Weiming, an editor working in the "Qing Dynasty History Institute", he performed the movements of kicking with speed and forcé. Later, however, to suit the needs of treating chronic disease, he changed them into slow movements with the inner exerúon of forcé. And in such movements as punching downward and punching the opponent's pubic región, he only made imitations instead of manifest exertions of forcé, thus making the set of movements continuous and evenly-paced. Yang Chengfu was a stalwart and handsome man. Creating a style all his own, he had mastered extraordinary skill in "Tui Shou" (push-hands) and was good at both attack and defence. Though his punches were delivered in a gentle manner, they were as hard as a steel bar wrapped in soft cloth. He could deliver a stunning blow with only little action, and no sooner had the opponent felt that he was attacked than he was flung several metres away without being hurt. While other schools might regard injuring the opponent as the main objective, Yang Chengfu merely overpowered the opponent without hurting him, thereby blazing a new trail for the art of attack in the martial arts. SmaH wonder many learners not only wanted to master the skill but enjoyed doing so. Yang Shaohou (1862-1930), Yang Chengfu's eider brother, was also a famous wushu master who learnt most cf his skills from his únele Yang Banhou and, like his únele, he was bellicose by nature. His taijiquan "frame" style was originally similar to his brother's, but later it gradually changed to the style of high "frame" with lively footwork and well-knit small movements, alternating quick with slow actions. He was swift and powerful in delivering his blows and, with eyes blazing like torches, a grim smile on his face and roaring and howling as he darted back and forth, he was held in awe by others. The technical features of this kind of taijiquan were: overcoming strong attacks with soft movements, adapting oneself to others' movements and following up with quick attacks, using the motion of "sudden cennection" to defeat the opponent with surprise attacks. The hand movements included catching, pushing and capturing, injuring the attacker's muscles and harming his bones, attacking the opponent's vital points and "controlling" his arteries and veins, using "continuous" and "sudden connection" forcé to throw the attacker to the ground with lightning speed. 7

When teaching his pupils, Yang Shaohou would attack them without pulling his punches. His attacking movements were swift and ferocious, and his facial expression was changeable and varied. All this made it difficult for his trainees to imítate, which was why many of them dropped out halfway. And that was also perhaps why Yang Shaohou's style of taijiquan was not as popular as Yang Changfu's, though the two brothers enjoyed an equally high reputation during their lifetime. Yang Shaohou followed his brother to the southern pa:ts of the country and gave lectures in Shanghai and Nanjing. Mang offieials and rich merchants vied with one another to learn from him. Wu Jianquan, a famous master of the Wu style of taijiquan, invited Yang Shaohou to teach his son Wu Gongyi. After several months' coaching by Yang Shaohou, Wu Gongyi mastered the skills of catching, throwing and other techniques, which made him a better wushu expert than other disciples of the Wu school of taijiquan. Yang Chengfu's techniques improved and matured with the passage of time. In his middle age, his wushu skill reached its apex, and his performance had that touch of magnificence and gallantry as few maestros could acquire. In the book Taijiquan Techniques written by his disciple Chen Weiming in 1925, there were 37 photographs showing Yang Chengfu in different postures and 4 photographs showing Yang Chengfu doing "Tui Shou" (push-hands) exercises with Xu Yusheng. In the book A Manual of Taijiquan compiled by Zheng Manqian in 1934 for Yang Chengfu, there were 104 photographs. Although Yang's weight was 290 pounds at that time, his movements were natural and relaxed, combining vigour with gentleness. It could be said that he had attained the acmé of technical proficiency. Among his students who later became great taijiquan masters and teachers were: Cui Yishi (Beijing), Li Chunnian (Sichuan Province), Chen Weiming, Wu Huichuan, Fu Zhongwen (Shanghai), Niu Chunming (Hangzhou), Dong Yingjie (Hongkong). Only Fu Zhongwei is still living today. Yang Chengfu's eldest son, Yang Zhenming, has been teaching taijiquan in Hongkong for a long time. Yang Zhenji, his second son, is at present the chairman of the wushu association of the city of Handan in Hebei Province. Yang Zhenduo, the third son, is now teaching taijiquan in the city of Taiyuan in Shanxi Province and is also the chairman of the Research Association of the Yang school of taijiquan in that province. In November 1961 he went to Shanghai to give a taijiquan exhibition which caused a great sensation. Many taijiquan fans made a special trip to Shanghai to watch his performance. 8

\ Yang Chengfu had been to Shanghai on several occasions to teach taijiquan, and each time he took with him an assistant to do the "push-hand" duet. As I remember, the man who first accompanied him to Shanghai was Wu Huichuan (250 pounds in weight and a former wrestler); the second time he was accompanied by Dong Yingjie; the third time it was Yang Kairu; the fourth time, it was Chang Qingling; and the last time, it was Fu Zhongwen who was the son of Yang Chengfu's daughter. The three generations of the Yang family had taught taijiquan for many years and had accumulated rich experience in this regard. With their teaching materials and methods constantly improved, the Yang school of taijiquan is now extremely popular among the Chinese people. I have taken a fancy to wushu since childhood. In 1927 I joined the "Zhirou Wushu Association" in Shanghai and learnt taijiquan from Chen Weiming. I also learnt from Wu Huichuan and when Yang Chengfu and Yang Shaohou carne to Shanghai, I had the privilege of benefiting from their personal instructions. From then on, I became more convinced than ever of the benefits of taijiquan. I am now over 70 and I must say I owe my good health first to the improvement of living conditions after liberation and, second, to doing taijiquan and "push-hands" exercises. In 1963 when I assisted Fu Zhongwen in compiling the book The Yang School of Taijiquan, I insisted that the illustrations should strictly conform to the postures in the photographs of Yang Chengfu so as to bring out the true characteristics of the Yang style of taijiquan. I was pleased to learn that Yang Zhenduo had written a book to popularize the Yang school of taijiquan, and it gives me great pleasure to write a preface for it. I hereby offer a few commonplace remarks by way of introduction in the hope that it will help readers get some idea of the past and present of this school of taijiquan.

9

TALKS ON THE PRACTICE OF TAIJIQUAN Narrated by Yang Chengfu Recorded by Zhang Hongkui There are many schools of Chínese wushu (martial arts), all with techtiical skills based on philosophy. Since ancient times, many people have devoted their lifetime and energy to probing the nature and essence of wushu and mastering the máximum skills, but few have succeeded. However, a learner can improve his skill if he keeps on practising and someday he will become an expert. As the saying goes: Drops falling, if they fall constantly, will bore through a stone. Taijiquan is part of the rich cultural heritage of China. It is an art in whose slow and gentle movements are embodied vigour and forcé. As a Chínese saying aptly puts it, "Inside the cotton is hidden a needle." Its technical, physiological and mechanical qualities all have a philosophícal basis. For learners, the guidance of a good teacher and discussions of the skills and techniques with friends are necessary, but the most important thing is persistent and untiring practice. Indeed, there is nothing like practice, and learners of taijiquan, men and women, young and oíd, will get the best possible results if they keep at it all the year round. In recent years, the number of people studying taijiquan in various parts of China has been increasing. This is an indication of the bright prospects of wushu. Many learners are conscientious and persistent in training, which will enable them to attain a high level of achievement. It should be pointed out here that two wrong tendencies should be guarded against. The first is that some people who are young and talented acquir°.d a quicker understanding than most other people and so become complacent and stop halfway. These people can never achieve great success. The second wrong tendency is that some learners are too anxious to achieve quick success and get instant benefits. They want to learn everything in a short time, from shadow boxing to wielding .the sword, broadsword, spear and other weapons. They know a smattering of each, but do not grasp the essence and their movements and postures are full of flaws to the expert eye. It is difficult to 10

correct their movements, for a thorough "overhaul" is needed and, as often as not, they might change in the morning and return to the oíd habits in the «vening. Henee the saying in Chinese boxing circles: "Learning taijiquan is •easy but to correct a wrong style is dif ficult." In other words, more haste, less speed. And if these people pass on their mistakes to others, they will be •doing a great harm. In learning taijiquan, one should first of all start from the quan jia or frame of boxing; he should practise according to the routines and follow the master's every movement carefully, and keep each action in mind. Meanwhile, he should pay attention to mi, wai, shang and xia. Nei means using the mind rather than forcé. Wai means the relaxation of the limbs, shoulders and elbows, making the movements from the foot and leg to the waist gentle and continuous. Shang means straightening the head, and xia means sinking the breath to the lower belly. For a beginner, the most important thing is to remember these points, grasp their essence and practise each basic movement correctly over and over again, never seeking quick success and instant benefit. It is advisable to make slow and steady progress, for this will pay in the long run. In practising taijiquan, it is necessary to keep all the joints of the body relaxad, so that the movements will be natural and unrestrained. Do not hold your breath (that may lead to puff and blow), and do not use stiff strength ín moving the arms, legs, waist and body, but try to make your movements gentle and continuous. These two points are well-known among the wushu •experts, but many trainees have difficulty in putting them into practice. The learners should bear in mind the following points: (1) Keep your head erect and do not incline it forward or backward. As a saying goes, "It's like there is something on your head, and you should take care not to let it fall." But you should not hold your head in a stiff manner, and though your eyes look straight ahead, they should follow the movements of the limbs and body. Although your eyes look into vacaney, they are an important component of the movements of the body as a whole. Your mouth should remain half open and half closed, with the nose breathing in and the mouth breathing out naturally. If saliva is produced in the mouth swallow it, (2) Hold the torso straight and the backbone and free end of the sacrum vertical. When moving, always keep the chest slightly inward and back upright. The beginners should keep these key points in mind, otherwise their movements will become a mere formality or dull-looking, and they will not be able to make much progress in spite of long years of practice. 11

(3) Relax the joints of both arms, letting the shoulders droop and the elbows curve naturally; the palms should be slightly extended and the fingers slightly bent. Move the arms by consciousness and send qi (breath or vital energy) to the fingers. Remember these key points and success will be yours. (4) Take note of the difference in stance between the two legs which move as gently as these of a cat. When one foot is planted firmly on the ground, the other is in an empty stance. When you shift the weight on to the left leg, then the left foot is firmly on the ground, while the right foot is in an empty stance, and vice versa. Though the foot is in an empty stance it is always ready to move. When the foot is firmly on the ground, it does not mean you should exert too much forcé with that leg, for if you do so, your body will incline forward and you will lose your balance. (5) The action of the feet is divided into kicking upward and kicking downward. When you kick upward, pay attention to your toes, and when you kick downward, pay attention to the solé; consciousness of the action will be followed by vital energy, and vital energy will be followed by strength. When you do all this, you should relax the joints and avoid stiffness. In practising taijiquan, one should first master and practise the "frame" as above mentioned (bare-handed forms), such as taiji shadow boxing and changquan (long shadow boxing); then one can proceed to singlehand pushing, one-site pushing, pushing with feet moving and free-hand fighting, and after a period one can take exercises with weapons such as taiji sword, taiji scimilar and taiji spear. Learners should practise regulad y every morning or before going to bed. It is preferable to practise seven or eight times during the daytime; if one is hard pressed for time, then practise at least once in the morning and once in the evening. Do not practise immediately after meáis or after drinking. The best place is in the gardens or parks where the air is fresh and the environment conducive to health. Do not practise on windy days or in a filthy place. for when you do the exercise, you might breathe in too much dust or dirt which is harmful to your lungs. It is advisable to put on sportswear and comfortable cloth or rubber shoes. When you sweat, don't take off your clothes or wipe with cold towels, lest you should catch cold and fall ill.

2

THE TEN ESSENTIALS OF TAIJIQUAN Narrated by Yang Chengfu Recorded by Chen Weiming (1) Straightening the Head Stand straight and hold the head and neck naturally erect, with the mind concentrated on the top. Do not strain or be tense; otherwise, the blood and vital energy cannot circuíate smoothly. (2) Correct Position of Chest and Back keep chest slightly inward, which will enable you to sink your breath to the dan tian (lower beíly). Do not protrude your chest, otherwise you will feel uneasy in breathing and somewhat "top heavy". Great forcé can be launched from the spine only when you keep the vital energy in your lower belly. (3) Relaxation of Waist For the human body, íhe waist is the dominant part. When you rtlax the waist, your two feet will be strong enough to form a firm base. All the movements depend on the action of the waist, as the saying goes: "Vital forcé comes from the waist." Inaccurate movements in taijiquan stera from the erroneous actions of the waist. (4) Solid and Empty Stance It is of primary importance in taijiquan to distinguish between "Xu" (Empty) and "Shi" (Solid). If you shift the weight of the body on to the right leg, then the right leg is solidly planted on the ground and the left leg is in an empty stance. When your weight is on the left leg, then the left leg is firmly planted on the ground and the right leg is in an empty stance. Only in this way can you turn and move your body adroitly and without effort, otherwise you will be slow and clumsy in your movements and not able to remain stable and firm on your feet. 13

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Sinking of Shoulders and Elbows

Keep your shoulder in natural, relaxed position. If you lift your shoulders, the qi will rise with them, and the whole body will be without strength. You should also keep the elbows down, otherwise you will not be able to keep your shoulders relaxed and move your body with ease. (6)

Using the Mind Instead of Forcé

Among people who practise taijiquan, it is quite common to hear this comment: "That is entirely using the mind, not forcé." ín practising taijiquan, the whole body is relaxed, and there is not an iota of stiff or ciumsy strength ín the venís or joints to hinder the movement of the body, People may ask: How can one increase bis strength without exercising forcé? According to traditional Chinese medicine, there is in the human body a system of pathways called jingluo (or msridian) which link the viscera with different parts of the body, making the human body an integrated whole. If the jingluo is not impeded, then the vital energy will circuíate in the body unobstructed. But if the jingluo is filled with stiff strength, the vital energy will not be able to circuíate and consequently the body cannot move with ease. One should therefore use the mind instead of forcé, so that vital energy will follow in the wake of the mind or consciousness and circuíate all over the body. Through persisten t practice one will be able to have genuine internal forcé. This is what taijiquan experts cali "Liíhe in appearance, but powerful in essence." A master of taijiquan has arms which are as strong as steel rods wrapped in cotton, with immense power concealed therein. Boxers of the "Outer School" ( a branch of wushu with emphasis on attack, as opposed to the "Inner School" which places the emphasis on defence) look powerful when they exert forcé, but when they cease to do so, the power no longer exists. So it is merely a kind of superficial forcé. (7)

Coordination of Upper and Loweí Parts

According to the theory of taijiquan, the root is in the feet, the forcé is launched through the legs, controlled by the waist, and expressed by the fingers; the feet, the legs and the waist form a harmonious whole. When the hands, the waist and the legs move, the eyes should follow their movements. This is meant by coordination of the upper and lower parts. If any one part should cease to move, then the movements will be disconnected and fall into disarray. 14

(8)

Harmony Between the Internal and External Parts

In practising taijiquan, the focus is on the mind and consciousness. Henee the saying: "The mind is the commander, and the body is subservient to it." With the tranquillity of the mind, the movements will be gentle and graceful. As far as the "frame" is concerned, there are only the Xu (empty), shi (solid), kai (open) and he (cióse). Kai not only means opening the four limbs but the mind as well, and he means closing the mind along with the four limbs. Perfection is achieved when one unifies the two and harmonizes the internal and external parts into a complete whole. (9)

Importance of Continuity

In the case of the "Outer School" (which emphasizes attack) of boxing, the strength one exerts is stiff and the movements are not continucus, but are sometimes made off and on, which leave openings the opponent may take advantage of. In taijiquan, one focuses the attention on the mind instead of forcé, and the movements from beginning to end are continucus and in an endless cúrele, just "like a river which flows on and on without end" or "like reeling the silk thread off cocoons." (10)

Tranquillity in Movement

In the case of the "Outer School" of boxing, the emphasis is on leaping, bouncing, punching and the exertion of forcé, and so one often gasps for breath after practising. But in taijiquan, the movement is blended with tranquillity, and while performing the movements, one maintains tranquillity of mind. In practising the "frame," the slower the movement, the better the results. This is because when the movements are slow, one can take deep breath and sink it to the dan tian. It has a soothing effect on the body and mind. Learners of taijiquan will get a better understanding of all this through careful study and persistent practice.

15

SOME IMPORTANT POINTS CONCERNING THE YANG SCHOOL OF TAIJIgUAN Yang Zhenduo I. Relaxation It is easy to understand the literal meaning of "relaxation". The word here has two implications: (1) The relaxation of the mind, that is, the elimination of all other thoughts and the concentration of the mind on practising taijiquan (2) The relaxation of the whole body and the elimination of the stiff strength inside it. The second implication has indeed caused some misunderstanding among many learners. They take it for granted that relaxation means not using any strength and that they should display physical softness. The fact that the "Ten Essentials of Taijiquan" emphasizes the employment of the mind instead of the use of strength gives rise to another misunderstanding that taijiquan should be all softness. Some people, of course, have doubts on this point, since there is the saying that "the needle is hidden in the cotton" or "vigour is concealed in gentleness." Where exactly does vigour lie? Some people have probed into this question with experiments and they have discovered that the conscious employment of even a little strength results in a stiff feeling, while relaxation indeed brings a feeling of softness. It is therefore natural that the beginner finds himself in a dilemma. II. What is Real Relaxation? I would like to give some of my personal views on this question. Though relaxation means the conscious relaxation of the mind, more importantly, it means the relaxation of the whole body. Relaxation of the whole body means the conscious relaxation of all the joints, and this organically links up all parts of the body in a better way. This does not mean softness. It requires a lot of practice in order to understand this point thoroughly. Relaxation also means the "stretching" of the limbs, which gives you a feeling of heaviness. (This feeling of heaviness or stiffness is a concrete reflection of strength.) This feeling is neither a feeling of softness ñor of stiffness, but somewhere in between. It should not be confined to a specific part, but involves the whole body. It is like moltea 15

iron under high temperature. So relaxation "dissolves" stiff strength in very rnuch the same way. Stiff strength, also called "clumsy strength", undergoes a qualitative change after thousands of times of "dissolution" exercises. Tust like iron which can be turned steel, so "clumsy strength" can be turned into forcé, and relaxation is a means of gradually converting it into forcé. Our ancestors put it well: "Conscious relaxation will unconsciously produce forcé." There is truth in this statement. III.

The Difference Between Strength and Forcé Strength can be compared to unheated and unmelted pig iron. It is inborn and is distributed over all parts of the body. When a baby is born, it cries and moves its limbs with its natural strength. When we say we should not use strength in taijiquan, we refer to this natural strength (clumsy strength). We should instead use forcé, which is also called "internal forcé", or taijiquan forcé, Though forcé is not natural strength, it is difficult to sepárate the two. In other words, despite their difference, there is no clear-cut demarcation line between them. Forcé derives from strength, which serves as its basis. Iron becomes steel through heating and tempering, so steel derives from iron. If we do not have a proper understanding of this fact, we will counterpose one against the other and fail to have a correct understanding of the relationship between the two. Consequently, we will not be able to achieve what has been described as "The needle is hidden in the cotton" or "vigour is concealed in gentleness." Gentleness here suggests a degree of tenacity. Only when we have acquired such an understanding can we achieve what is summarized as "Relaxation gives rise to gentleness, which in turn gives rise to vigour, and gentleness and vigour supplement each other." IV. How Should We Understand "Employment of the Mind Instead of the Use of Strength". This is easy to understand when we know the difference between strength and forcé. Now let us return to the topic of strength which, as has been said, is inborn and is distributed over all parts of the body. When we start doing exercises every day, we should first of all 'relax' in the conscious search of strength. Then, we gather the strength, organize it under our command before we put it into exercise. Gradually the scattered strength becomes á totality in itself. This is like a well-trained army which moves in unisón according to the order issued by its commander. In this way, the army can achieve its goal. Our forerunners said: "Whither the mind goes, forcé fol17

lows." That is to say, when the learner has attained a certain level after persistent training and is able to combine forcé with skill, then forcé will emerge of itself and follow the mind. This is a point I wish to drive home. A strong man who has never learnt wushu may be able to defeat his opponent. This of course depends on who his opponent is. However, given the same physical conditions, a wushu expert is sure to defeat an opponent who has not practised wushu. A man of strong build will of coursebecome stronger if he takes up wushu and persists in training.

18

TAIJIQUAN—AN EXERCISE FOR THE WHOLE BODY Yang Zhenduo Taijiquan is an exercise for the whole body, and it trains both the mind and the body. The waist is of primary importance, for it leads the movement of the four limbs. In practising taijiquan, when one part moves, all the other parts also move, with the upper and lower limbs following accordingly. All this points to the totality of its movements. However, many learners often tend to divide the body into three parts consciously or unconsciously: the arms, the trunk and the legs. The result is that each part moves on its own, without any connection whaisoever with the other parts. While the legs and the arms move independently, the movements of the trunk, including the buttocks, the back, the abdomen and the internal organs, are neglected. If this should happen, the desired effects cannot be achieved. In this regard, I would like to stress a few points which I hope learners will keep in mind. (1) Because of its position, the waist performs the special function of linking up all parts of the body — the hips and the legs below and the back, the arms and the head above. So in doing the exercises, we must make sure that the waist, which is the central link, coordinates the movements of the upper part and the lower part of the body, and that we have a kind of feeling all over the body, which is actually the feeling of forcé at work. While all the parts coordínate, they interact on each other. Without the relaxation of the waist and the hips, it is not possible to keep the chest in a natural position and exercise the muscles on the back. Only in this way can the vital energy reach the back and forcé emit from the spine. It is impossible for the upper limbs to emit forcé without the relaxation of the waist and the hips, the coordination of the lower limbs and the exertion of forcé by the legs which serve as the base. That is why we must understand the essential points thoroughly and strive for the harmony of the movements. Our ancestors told us to "take the waist as the axis and use it to lead the movements of the four limbs." But we should here include the trunk, for when the main axis moves, all the other parts of the body will follow suit. (2) One more point must be made clear. "The root or the base is in the feet." The meaning of "feet" here includes the legs. We must feel the forcé 19

ef the straíghtening and kicking movemenís of the feet. The base will not be firm without the straightening or propping movements of the legs, and the result will not be difficult to imagine. How are we then to do the stepping, straightening or propping and kicking movements correctly? When you stretch out the leg on which you put your weight, the leg must be propped up in the shape of a 15ow; then you feel the forcé moving from this leg to the other leg on which you have not put your weight. You must not stretch out your leg without feeling the forcé, otherwise the movements of the whole body will fall into disarray. You will understand this after careful observation through practice. Failing to do so, it will be difficult to achieve íhe continuiíy and íoíaliíy of taijiquan movemenís. Wiíh regard ío the coordination beíween íhe upper and lower limbs, especially coordination between íhe íwo arms, we musí see ío ií íhaí the waist brings along íhe back and íhe arms, which in íurn bring along the wrisís. We should also pay aííeníion ío íhe naíural lowering of íhe shoulders and elbows, the poise of the wrist and íhe palms, íhe slighí bending of íhe fingers and íhe righí spacing beíween íhe fingers, which are all ímporíaní in taijiquan.

20

CORRECT AND WRONG FORMS, POSTURES AND MOVEMENTS Yang Zhenduo

Forms of Hands Whether trie form of the hands is pleasing to the eye or not means whether or not the movements of the hands will be smooth and comfortable. More important, it means whether or not your hands can give expression to the skill and strength of your whole body. Of course, our main purpose in doing taijiquan exercises today is to improve our health and cure diseases. In this respect,'if both hands move in a smooth and comfortable way, they will play an important role in facilitating blood circulation and metabolism. Please look at the following forms of the hands:

Fig. 1

The hand in the above figure is f ormed by stretching the palm slightly, with the fingers slightly bent and a little apart. In this way, it looks evenly balanced and comfortable.

Fig. 1

Fig. 2

Fig. 3 21

I

The above figures show that the fingers are either closed, too far apart»! too upright or bent too much. These forms are all incorrect.

The Connecíion Beíween Hand, Wrist aed Arm What do the following figure? show? They show us the correct way of keeping the wrist erect and the fingers a little apart in practising taijiquan.

Fig. 1

The above figure shows that the hands, wrist and arm are well coordinated. This form shows in a perfect way the inner strength and connecíion between the hand, wrist and arm. They appear to be mild and gentle, but not loóse and lifeless, ñor stiff and rigid. This is the proper way of coordinating the movements of the hand, wrist and arm. But the following two ways of holding the hand, wrist and arm are wrong. In the first case, they seem to be disconnected and appear limp and lifeless, as if the man is listless and in low spirits. In the other case, the wrist is stiff, that is, exerting stiff forcé with the wrist, which not only hampers movement but also hinders blood circulation, and therefore adversely affects training. Moreover, it gives an uncomfortable feeling. This is well illustrated in the following two figures.

Fig. 2 22

Fig. 3

Kow to Turn the Body with the Arras Moving Horizontally Tn performing the action of moving both arras ín ares in the "Single VJhm" whMe moving outward, the left arm plays the leading role and the •Jht arm follows it; the left hand is bent inward and the wrist is kept level. There should be a feeling of holding the shoulders and elbows down, sink• « the wrist and keeping the fingers a bit apart; the hands and arms should be well coordinated and strength put into them. You must not move the rm in a stiff and listless manner. In moving back, the right arm plays the leading role and the left arm follows it; the wrist should be kept level and the hands and arms well coordinated. This is well illustrated below.

Fie. 1

The left wrist is kept level; the arm and hand are well coordinated, and strangíh is put into them.

Fia. 2

The two hands are stiff, with no difference between the primary and the secondary. ^77uva~^ os '. f

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Fig. 3 It is wrong to incline forward or backward. Various Forms of the Lower Limbs To form the "Bow Step", you bend the front leg and straighten the rear one. The front foot points forward, wh ile the rear foot is turned outward (45 degrees). The two feet are approximately shoulder-width apart, if the distance is too wide, your posture will be wrong and if it is too narrow, you will stand on the same line, which means you will not be able to maintain your balance. The form in Fig. 1 better suits the requirements. In Fig. 2 you stand on the same line, and in Fig. 3 the distance between the two feet is too wide.

M , -i -1

Fig. 1

Fig. 2

Fig. 3

How to Bend the Knee in the "Bow Step" When you bend your left leg to form the left "bow step", the knee and the toes of the left foot should be in a perpendicular line as in Fig. 1. In Fig. 2 the knee goes beyond the toes of the foot, which means the weight will be shifted too far forward and you will not be able to remain firm on your feet. In Fig. 3, the knee is behind the toes of the foot, which makes it impossible for your lower limbs to exert forcé. 24

3>

Fig. 3

Fig. 2

Fig. 1

The following three illustrations show the action of standing on one lee The leg on which you stand should be straight, not stiff or curved. Keep your leg straight, but not over-stretched. The form in Fig. 1 is correct.

Fig. 2

T,.

. Fig. 1

6

In Fig. 2, the leg is bent, so you cannot put forth strength.

m 3

Iti Fig. 3

In Fig. 3, the leg is stiff, and all the strength is put in the shank. In this way, you not only feel uncomfortable, but will incline your upper limbs forward, making it impossible for you to maintain proper balance. 25

The Correct Way of Performing the Movement of "Empty Step withj Heel Corning Down on the Floor and Toes RaiseJ".

Fig. 1

In the above illustration, the toes are slightíy raised, which is the cor-1 rect form. If the toes are turned upward in a stiff way, as in the follosvingl illustration, all the strength will be put in the ankie, and the result is your] left leg will be stiff and will be disconnected with the other parts.

Fig. 2

In practising taijiquan, you should hold the shoulders and elbows down, which is one of the actions of keeping the whole body relaxed. Only in this

Fig. 1 28

can you connect the back with the arms and coordínate the movements Zf the whole body. (See Fig. 1) If you dangle your arms, you will feel suffocated because you cannot •se your breath. You will feel top heavy and the lower part of your body will not be able to remain stable. This is an important point to remember. S e e Fig. 2 and you will get the point. ay

The following illustrations show what you must do and not do in order to keep the body erect and comfortable in practising taijiquan. You should not arch your back, bend your waist, stick up your hips or bend backward, otherwise your posture will not be comfortable or pleasing to the eye. In Fig. 1, the movement is srnooth and comfortable and therefore correct.

i

Fig. 1

In the following illustrations, the postures give an uncomfortable feeling. How should you clench your fist for the various punches? This is explained as follows. 1. "Deílect Downward, Parry and Punch": This is divided into two 27

Fig. 3

Fig. 2

ffr :

Fig. 5

Fig. 4

kinds: bending the wrist downward while clenching the fist and turníng the wrist over to clench the fist. They are used in "Defiect Downward" and you clench your right fist, cióse the fingers and keep the back of the fist leve!; but you should not clench the fist too tightJy wíth stiff strength, neither should you clench a hollow fist. See the foílowing ways of clenching the fist in "Defiect Downward, Parry and Punch"'. Ufe

1 Bend wrist downward and clench fist

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fflít Turn wrist over and clench fist

2. "Chop Opponent with Fist": In this form, the action is also to turn 23

ÑAMES OF THE FORMS OF THE YANG SCHOOL OF TAIJIgUAN Yang Zhenduo Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

Preparatory Form Commencing Form Grasp the Bird's Tail Single W h i p Raise Hajids and Step Up White Crane Spreads lis Wings Brush Knee and Twist Step (Left Style) Hand Strums the Lute Brush Knee and Twist Step (Left Style) Brush Knee and Twist Step (Right Style) Brush Knee and Twist Step (Left Style) Hand Strums the Lute Brush Knee and Twist Step (Left Style) Step Up, Deflect Downward, Parry and Punch Apparent Close-up Cross Hands Carry the Tiger to the Mountain Fist Under Eibow Step Back and Repulse the Monkey (Right Style) Step Back and Repulse the Monkey (Left Style) Step Back and Repulse the Monkey (Right Style) Slant Flying Raise Hands and Step Up White Crane Spreads Its Wings Brush Knee and Twist Step (Left Style) Needle at Sea Bottom Fan Through the Back Chop Opponent with Fist Step Up, Deflect Downward, Parry and Punch Step Up and Grasp the Bird's Tail Single W h i p 31

Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Fcrm Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form 32

32 33 34 35 36 37 38 39 40 41 42 43 44 45

Wave Hands Like Cíouds on Both Sides (1) Wave Hands Like Clouds on Both Sides (2) Wave Hands Like Clouds on Both Sides (3) Single W h i p High Pat on Horse Separation of Right Foot Separation of Left Foot Turn and Kick wíth Left Heel Brush Knee and Twist Step (Leff Style) Brush Knee and Twist Step (Right Style) Step Up and Punch Downwa-d Turn Over a n d Choo Opponent with F ; st Step Up, Deflect Downward, Parry and Punch

46

H i t the Tiger (Left Style)

Kick with Heel

47 Hit the Tiger (Right Styíe) 48 Turn and Kick with Right Heel 49

Strike Opponent's £ars with Both Fists Kick with Left Heel Turn and Kick wiih Right Heel Step Up, Deflect Downward, Parry and Punch Apparent Close-up Cross Hands Carry the Tiger to the Mounfain 56 Diagonal Single W h i p 57 Part the W i l d Horse's M a n e (Right Style) 58 Part the Wild Horse's M a n e (Leff Sfyle) 59 Part the W i l d Horse's Mane (Right Style) 60 Grasp the Bird's Tail 61 Single W h i p 62 Fair Lady Works at Shutíles 63 Grasp the Bird's Tail 64 Single W h i p 65 Wave Hands Like Clouds on Both Sides (1)

50 51 52 53 54 55

66 Wave Hands Like Clouds on Both Sides (2) 67 Wave Hands Like Clouds on Both Sides (3) 68 Single W h i p 69

Push Down

Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form Form

70 71 72 73 74 75 16 11

78 19

80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103

Golden Cock Stands on O n e Leg (R^ght Style) Golden Cock Stands on One Leg (Left Style) Step Back and Repulse the Monkey (Right Style) Step Back and Repulse the Monkey (Left Style) Step Back and Repulse the Monkey (Right Style) Slant Fiying Raise Hands and Step Up White Crane Spreads Its Wings Brush Knee and Twist Step (Left Style) Needle at Sea Bottom Fan Through the Back White Snake Puts Out Its Tongue Step Up, Deflect Downward, Parry and Punch Step Up and Grasp the Bird's Tail Single Whip Wave Hands Like Clouds on Both Sides (1) Wave Hands Like Clouds on Both Sides (2) Wave Hands Like Clouds on Both Sides (3) Single Whip High Pat on Horse c n d Go w'ríh Palm Cross Legs Step Up and Punch Opponent's Pubic Región Step Up and Grasp the Bird's Tai! Single Whip Push Down Step Up to Form Seven Stars Retreat to Ride the Tiger Turn Round and Kick Horizontally Shoot the Tiger with Bow Step Up, Deflect Downward, Parry and Punch Apparent Close-up Cross Hands Ciosing Form Restoring Form

Z3

ILLUSTRATIONS OF THE YANG SCHOOL OF TAIJI0JAN Form 1

Preparatory Form

Stand naturally upright with feet shoulder-width apart, toes pointing forward, arms hanging naturally with palms facing inward and fingers pointing dov/nward. Hold body erect, facing towards the south and looking straight forward. Keep the whole body relaxed. (Fig. 1).

Fig. 1

Points to remember: 34

(1) Be relaxed and natural but with the mind alert and concentrated; banish all thoughts so as to be in r tranquil state of mind. (2) "Straighten the head as if there were something on it"; "Sink breath into abdomen"; "Loosen waist with sacrum right in the middle"; "Keep chest and back in their natural positions"; "Hold shoulders and elbcws down". (3) The above-mentioned points, which are the basis in practising taijiquan, should be followed throughout the process and kept in mind all the time. These basic points will not be repeated in the following forras.

Form 2

Commencing Form

(1) Turn arms slightly inward with palms pressed down a bit. Then move palms obliquely downward until they are placed beside the hios (Fig. 2) .

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them beside the hips with palms facing dov/nward and fingers pointin'^>"í^

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Fig. 92

Fig. 93

Fig. 95

Fig. 94

Fig. 96 77

Pig. 97

Fig. 98

froní of abdomen, with palm facing obliquely rightward and the part between thumb and index fingers a little upward. As the right hand moves from the right side, clench fist gradually, bend forearm with clenched fist inward. Sit firmly on right leg and stretch left leg with heel coming down on floor and toes raised. Raise left arm upward and forward, with palm facing rightward and the part between thumb and index finger upward; place right fist on the right lower side of left elbow. Face is turned due east and the body a little rightward (45 degrees), with eyes looking horizontally due east. (Figs. 99-100) Points to remernber: (1) The essential point about turning is the same as Point (1) in Forra 4. (2) After the transition, while turning body to take half a step rightward, pay attention to the coordination of between upper and lower limbs and keep the upper part of body erect. While left arm is raised from below upward, it should be done as if it is raising an object and it should move in an are. At the same time, while withdrawing right arm with clenched fist to the place below the left elbow, it should coordinate with the left arm and the speed should be even. 78

^Illf Fig. 99

Fig. 100

(3) The right fist should be bent inward with the clenched fingers facing leftward, making as if it going to hit the armpit of the opponent. Hold right elbow down so that the right arm is in a round form. Keep waist and hips relaxed, and keep chest and back in their natural positions.

Form 19 Step Back and Repulse V . the Monkey (Righí Style) (1) Change right fist into palm and move it downward to the side of right hip, with palm facing upward; turn left palm slightly inward. (Fig. 101) (2) Move right arm in an are backward. Just before right arm is raised to shoulder level, bend forearm with palm erect; turn left palm upward. The two palms are far apart facing each other, one in the front and the other in the rear. Sit firmly on right leg. (Fig. 102) (3) Raise left leg and draw it backward, with toes coming down on floor and heel raised. Move left arm slightly backward and downward, and stretch right arm slightly forward from behind. (Fig. 103) (4) Move the four limbs along the waist. When drawing the left foot backward, the toes come down on the floor first, then the inside of the foot 79

Fig. 101

Fig. 102

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so

, £| r a n ( j finally the whole foot comes down on the floor and lands on ^ ' ¿ e g r e e s). Following the lead of the waist, shift weight on turns ou d u a l l y &n¿ s j t firmly on it; and with this movement turn right t 0 left eg g^ í o r w a r d a n d p l a c e ¡ t m ^ e front_ Continué to withdraw left foot s r o ^ ^^ ^ ^.^ t Q j o r m a n a r C j w i t h p a l m f a c j n g u p w a r ( j ; c o n . arm trPtrh ri^ht arm forward, with palm facing the front. Face is turned tinue to sireiui A a east- body is turned slightly leftward (45 degrees), with eyes looking

ahe'ad. (Figs. 104-105)

Fig. 104

Fig. 105

Poisits to remenibsr: (1) The movement here requires you to step back, a movement which people are generally not accustomed to. Therefore, you should know where to place your foot, otherwise your posture might be wrong. It is advisable not to move the upper part of your body while stepping back so that you can straighten your left foot and step back in a straight line, and before it comes down on the floor, stretch it a little outward. Thus, the movement Will be smooth when the weight is shifted on to left leg, and your posture will be correct. Remember, avoid by all means crossing your feet in confusión. 81

(2) There is the impiied meaning of hitting when stretching the rmli arrn forward with palm ereet. Though in this form you retreat, there k • it the meaning of advancing to launch an attack. It is not suitable for t] right wrist and right palm to be held in a loóse and soft way. (3) You are Hable to stick out your hips while stepping back. Therefore you should guard against it.

Form 20 Step Back and Repulse the Monkey (Lefí Síyle) Only one movement in this form is different from the one in the preceding form, that is, in the connection point with the form before it, the movement in Form 19 is to change right fist inío paim and place it beside the right hip. Ail the other movements and points to remember in this form are the same as those in the preceding form, only reversing "right" and "left". (Figs. 106, 107, 108, 109, 110, 111)

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Form 21 Síep Back and Repulse the Monkey (Right Style) For the acíions in this form, see Figs. 112, 113, 114, 115. Th e p o j

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Fig. 115

emember are the same as those in the preceding form, only reversing 'rig"? 6 and "left".

Form 22

Slant Flying

m Move both arms in a downward are with the left arm leading and ht arm following it. Left arm is moved first downward in an are r 'n' the left rear and then upward; just before It reaches the shoulder í ° W r bend forearm inward to the upper part of the abdomen, with the a facing downward. Right arm is moved towards the left to the lower Pa T o f the abdomen, with the palm turned upward. Both arms are closed. (Figs. H6-H7. Fig. 117 is the side view.)

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Fig. 117

(2) After sitting firmly on left leg, raise right leg from the right rear (135 degrees) (in the southwest), and stretch it out with heel coming down on floor. (Figs. 118-119) (3) Following the movement of waist, move the four limbs from left to right; along with this movement turn left foot inward. At the same time, shift weight on to right leg to form a right bow step. Both arms are separated with one on top of the other; place left hand in front of left hip, with palm turned slightly inward and facing downward; move right arm from 85

Fig. 118

Fig. 119

below upward and place it on the upper rear right side, with hand stretched and palm facing obliquely upward. Face is turned to the southwest with eyes looking at right palm. (Fig. 120) Points to remember: (1) In this form, while turning body from left to right, it is not easy to control this movement because the angle is quite big (135 degrees). Therefore, it is necessary to keep weight on the left leg in the whole process, otherwise the body may lose its proper balance. (2) The movement of turning left foot inward must follow the movement of the waist and coordínate it with the movement of separating the two arms, otherwise it will not be easy to turn. (3) While turning body to the right (135 degrees) and stretching right leg out, be sure to keep the hips relaxed and the crotch in a round form. Do not stretch leg to the right rear alone without turning body. (4) While moving right palm from below to the upper right side, relax and stretch the palm with wrist erect and fingers extended; don't let the palm sink.

Form 23

Raise Hands and Síep Up

(1) While shifting weight forward, raise left foot a little off the floor 86

Fig. 120

and then turn it outward (45 degrees) and land on the floor. Then, gradually shift weight on to left leg and sii firmly on it; change right foot into empty stance with heel raised. Both arms are separated and moved in ares to the left and right sides at the same time. (Figs. 121, 122, 123) (2) After sitting firmly on left leg, stretch right leg out with heel coming down on floor and toes raised. At the same time, with weight shifted on to the left, both arms follow waist to cióse inward, with palms facing each other obliquely. Right arm is in front and slightly higher, and left arm is behind and slightly lower. Then, place left palm on the lower left side of right arm; bend right elbow with right palm erect and fingertips not higher than the level of eyebrow. Face is turned due south; body is turned slightly to the southeast, with eyes looking due south. (Figs. 124-125) (3) See Figs. 126, 127, 128, 129. Points to remember: The points are the same as those in Form 5.

Form 24

White Crane Spreads Its Wings

The movements and points to remember are the same as those in Form 6. For the movements see Fig. 130 and its front view Fig. 131. 87

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Form 25 Brush Knee and Twist Síep (Left Style) movements and pointsto remember „ t h e same as those in Form the movements see Figs. 132, 133, 134, 135, 13b.

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Form 26

Needle at Sea Botíom

m while shifting weight forward, raise right foot and step forward j L Í Í h e s At the same time, bend right wrist downward. (Fig. 137

> A s < o o n as right foot comes down on floor, shift weight on to • J L s t fomly on it and change left foot into empty stance^ Both arms "g í II,t as the body turns from left to right. Move right arm from S K o n n W r u p w a r d a J t o the right rear side, with pahn facing the left í t the same time raise left arm shghtly upward. (Fig. 138) S1 '( A ter sitting firmly on right leg, draw left leg a kttle mward with the toe coming down on floor to form an empty step. With body tañed, Í e U waist and stretch right arm to the lower front side, with nght palm fac d and fingertips pointing downward. At the same time, left palm ng t h w

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moves downward to the side of left hip, with palm facing downward and finaertips pointing forward. Face is turned due east, with eyes looking at the front of right palm. (Fig. 139). Points to remember: (1) In this form, the weight is as a whole on the right leg, but the left leg should coordínate with it mainly by loosening the left crotch. (2) While moving right arm in an are to the right, be careful not to shrug shoulder or dangle elbow, that is, the are should not be too big. (3) When turning body to the right, the upper part of body should not go beyond 45 degrees. While moving right arm in an upward and rightward are, it should have the meaning of rising in order to get ready for the next movement. (4) Special attention should be paid not to stick out the hips, still less bend waist and head and look downward. (5) Left arm should follow right arm in moving up and down, but the range of movement is smaller. Left arm should not remain still. (6) In this form, the movement of waist is quite evident. Therefore, while turning body and bending waist, the four limbs must move along with 93

Fig. 140

the waist, otherwise the movements of the body, feet and hands will be disconnected and thrown into confusión.

Form 27

Fan Through the Back

(1) Raise the upper part of body and turn body slightly to the right. Right arm is gradually turned from below upward and froni inside outward until it is raised to the shoulder level, with palm facing outward; left arm is bent inward, with the hand placed on the right wrist and palm facing l outward. (Fig. 140) (2) Raise left leg and stretch it forward to form a left bow step. At the same time, pulí both arms apart, one in front and the other behind*. Bend right elbow and raise right hand to the right side of the forehead; stretch left arm straight forward, with palm facing outward. Face is turned due east, with body turned slightly to the southeast and eyes looking straight ahead. (Fig. 141) Points to remember: (1) When you raise left foot and stretch it forward, see that it lands a little to the left so that the two feet will not be in a straight line while forming the left bow step. 94

Fig. 141 (2) While raising the upper part of body and stepping forward, sit firmly on right leg and don't stand up. While bending right elbow and placing right palm on the right side of the forehead, be sure to hold shoulder and elbow down, or else the movement of right arm will be disconnected with other parts.

Form 28

Chop Opponent with Fist

(1) Shift weight to the rear and, following the movement of the waist, turn body from left to the right rear and turn left foot inward (132 degrees); meanwhile, gradually shift weight on to left leg and sit firmly on it, with right foot changed to an empty stance. Bend left arm inward and place left hand by the side of the forehead, with palm facing outward; move right arm in an are from above downward until it is between chest and abdomen; gradually keep wrist erect and clench fist with the knuckles facing upward. (Figs. 142, 143, 144) (2) Following the movement of body, continué to turn the four limbs from left to right. Raise right foot and step forward (from due east to due west). At the same time, move left arm to the place beside the left rib, with its palm erect and facing obliquely forward; the right fist is first moved a 95

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(3) Shift weight to the right to form a right bow step. At the same time, draw back the right arm from the front in a downward are to the place beside the right hip, with the clenched fingers facing upward; stretch the left arm forward. Face is turned due west, with eyes looking ahead. (Figs. 146-147. Fig. 147 is the front view.) Points to remember: (1) In this form, as there are many complex and continuous movements, care should be taken to ensure their coordination and continuity; the transition movements should not be regarded as fixed forms. (2) In this form, you use the back of fist to hit the opponent; it has the same meaning as "Deflect Downward" in Form 14. Therefore, while clenching your fist, you should turn fist inward with the back of fist stretched tight so as to link the fits with the whole body organically. Other forms of clenching the fist are not suitable. (3) In the course of turning the body, the angle of turning the foot irt97

Fig. 146

Fig. 147

ward should be 135 degrees. If not, it will be difficult to stretch out the right leg and keep upper part of body in proper position. Therefore, the angle of turning foot plays an important role in providing a firm basis for keeping the body erect and coordínate it with the other parís. With a firm basis, you can move and turn naturally and with ease.

Form 29 Step Up, Defíect Downward, Parry and Punch (1) While shifting weight to the left, change right leg into empty stance and turn body from right to left. Bend right elbow, clench right fist and, following the movement of waist, gradually move right arm from outside to inside and to the front until it comes to the left side, with clenched fingers facing obliquely downward; sink left elbow and bend left arm inward, With palm facing obliquely upward, and place it a little leftward below right arm. (Fig. 148-149) For other movements, see Figs. 150, 151, 152, 153. Points to remember: The posture in Fig. 149 is the same as in Fig. 14 for the "Pulí Back". S8

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Form 30 Sísp Up and Grasp the Bird's Tail (1) Shift weight slightly to the rear and, foilowing the waist, turn body to the left. Bend left arm and turn left hand outward, with palm facing obliquely upward, then raise it to the left front side. At the same time, change right fist into palm to face obiiquely downward. (Fig. 154) (2) Shift weight to the front and sit firmly on left leg; raise right fooi a little away from the floor. Move right arm in an are downward and invvard and place it in front of abdomen. (Fig. 155) (3) Stretch right leg forward to form a right bow step. Continué to move right arm in an are upward until it is below left arm and then stretch it forward. Left arm is now placed at the lower left side of right arm, with palm facing obliquely downward. 100

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The following movements (Figs. 156, 157, 158, 159, 160, 161, 162, 163, 164) and point to remember are basically the same as those of "Ward Off Slantingly Upward", "Pulí Back", "Press Forward" and "Push" in Form 5. There is only a little difference in the' connecting parís which has bees explained in Fig. 154 and in Fig. 155. , %,Points to remember: There is a little difference in the connecting parts between this form and Form 3. In Form 3, there is the movement of "Ward Off Slantingly Upward" (left style), but in this forra, this movement does not appear by itself, but is performed together with the movement of turning left arm outward (Fig. 154). So there is also the meaning of "Ward Off Slantingly Upward" in this form which embodits in "turning the arm". This point should not be ignored. The other points are the same as those in Form 3.

Form 31

Single Whip

The movements and points to remember are the same as those in Form 4. (Figs. 165, 166, 167, 168, 169, 170, 171, 172) íoi

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Fortti 32 Wave Hands Like Clouds on Both Sides (1) (1) Shift weight to the rear and, following the lead of the waist, tura body to the right, turn left foot inward (90 degrees); and bend left arm horizontally inward to the front of chest, with palm facing obliquely downward. (Fig. 173) (2) Turn body from right to left until it faces the front and a little leftward; at the same time turn left arm inward with palm facing inward. While continuing to turn body slightly leftward, move left hand to the place in front of the left part of chest; the right hooked hand is changed into palm and is moved in a downward are to the front of abdomen. Shift weight gradually to the left. (Fig. 174) (3) While continuing to turn body to the left, shift weight on to left leg and change right foot into empty stance. Left arm is turned from right to left and from inside to outside, with palm facing obliquely outward; right hand is moved from below upward until it is in front of chest. (Figs. 175, 176, 177) (4) Raise right foot and draw it half a step leftward and land on the IOS

Fig. 173

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Fig. 175 107

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floor, with toes pointing forward. Shift weight gradually to the right and turn body rightward to face the front. Move right arm in an are until it is in frent of the right parí of chest; the left arm is also moved in an are until it comes to the left front side of abdomen, with both palms facing inward (Figs. 178-179)

Form 33 Wave Hands Like Clouds on Both Sides (2) (1) Continué to turn body rightward (about 45 degrees). Following the movement of body, turn right arm gradually outward, with palm facing obliquely downward; left arm is moved from below upward little by little until it is in front of abdomen. Shift weight gradually on to right leg and sit firmly on it; raise left heel to form an empty step. (Fig. 180) (2) After sitting firmly on right leg, raise left foot and stretch it to the left side, with the inside of foot coming down first and then the whole foot on the floor. (Fig. 181) (3) As soon as left foot comes down on floor, the whole body, with the waist leading, turns from right to left, then sit gradually and firmly on left 108

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leg and draw right leg towards left leg, with both feet now shoulrf width apart. At the same time, continué to move both arms in an ar c and when the body is turned to the straight front, the right arm has moved an are to the place in front of the right part of chest, and the left arm h ° moved in an are to the place in front of the right part of abdomen- bo-h palms are now facing inward. (Figs. 182-183)

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^ (4) Continué to turn body to the left side (45 degrees) and shift weight graaually to the right. Move both arms in an are to the left side, with the two palms facing each other. Then, f rom left to right, move both arms, with one above the other, in an are past the straight front side to the right side (45 degrees), and both palms meet again and face each other. Ai this time, sit firmly on right leg and raise left heel to form an empty stance; together with the movement of body, the head also turns without slackening. (Figs. 184, 185, 186)

Form 34 Wave Hands Like Clouds on Both Sides (3) (1) After sitting firmly on right leg, immediately stretch left leg to the left side, and as soon as the left foot comes down on flbor, turn body no

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from right to the left side (45 degrees) and shift weight on to left 1 arms continué to move in an are, turn left arm from inside upward ^ ^ ward, with palrr facing outward to the left side; move right arm f"^ low upward, with palm facing inward. (Figs. 187-188)

Fig. 187

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(2) When sitting firmly on left leg, draw right leg inward, with toes turned inward in order to get ready íor a measured gait with toes pointing outward in the next form. Both arms continué to move in an are, the left arm moving downward and the right arm upward. Just before the tw» arms move to the shoulder level, they meeton the left side again. (Fig. 189) (3) Following the movement of waist, turn the whole body from the right side (45 degrees). Shift weight on to right leg and sit firmly on it, change left leg into an empty stance with heel raised. Following the body, both arms continué to move in an are up and down, the right arm moving from inside outward and the left arm from outside inward. Both arms meet on the right side. Points to remember: (1) With the waist leadíng the movements, turn to the left and right sides to wave hands. See that the movements of the four limos are led by 112

Fig. 189

the waist; be sure to turn them slowly and coordínate the movement of the upper limbs with that of the lower limbs. (2) The two arms are turned upward and downward and to the left and right sides. While turning the arms leftward, the left arm take the lead and the right arm follows; while turning them rightward, the right arm takes the lead and the left arm follows. The movement of the hand that leads from below upward has the meaning of "Ward Off Slantingly Upward". When the hand that leads is turned sideways, the palm is gra¿ually turned from inside outward, while the other arm moves accordingly from outside gradually inward, with the two moving in alternation. (3) The movements of waving hands are divided into the left and right sides, that is, upward and downward, and this constitutes one form of "Wave Hands Like Clouds on Both Sides". Generally, three such forms are performed continuously one after the other, just as in "Brush Knee and Twist Step", "Step Back and Repulse the Monkey" and "Part the Wild Horse's Mane" when three forms are performed continuously one after the other. You can also do five such forms continuously, but remember it «ust be in odd numbers, not in even numbers, so as to suit the require»ents of the arrangement of this series. 113

(4) When raising foot and stretching it sideways to the left right foot to the left side, you should always turn toes inwW/ w í t £ r t , p 1 a c i n í first, then the inner side of the solé and lastly the whole foot comi '^ on fioor. You must sit firmly on one leg before raising the otheM ^ careful to maintain the same level and keep a proper balance. ' "g lk (5) As stated above, you should use the waist to lead the mo of the four limbs, turn them smoothly to the left and right sides a J P * " ' dinate the movement of the upper and lower limbs. There are some ^ ees, however, who only turn their hands without moving the waist ' — the hands have no connection with the arms and other parís of the bócT " you should do so, your hands will not be able to move with ease your hl V will be stiff and your steps will fall into confusión. "''''• (6) ín the course of turning, see that the waist and hips are Hav^ otherwise the hips will stick out. " '

Form 35

Single Whip

(1) When the two arms meet at the end of the preceding form th right hand at once turns into a hooked hand, the left palm is moved tofo* ínward and the head follows the movement of the body, and the face is turn ed towards the right side. (Fig. 190) "

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Fig. 192

Fia. 191 Poisits to remember: The points are the same as those in Form 4.

Fonn 36

High-Pat on Horse

(1) While turning fcody from left to right, shift weight gradually on to right leg and sit firmly on it; raise left foot slightly off the floor. At the same time, change right hooked hand into palm and stretch it forward, with palm facing downward. Then, as the right arm bends inward,. bend the hand from the rear to the place in front of the chest; at the same time, left palm follows left arm from the front and turns inward, with palm facing obliquely upward.. (Fig. 193-194) (2) Following the movement of waist, both arms are moved from right 115

Fig. 193

F!g. 194

to left and body is turned to face the front. From the place in front of the chest, the right palm is stretched upward and forward, with palm turned inward and facing downward; at the same time, bend left arm and move left clbow backward to withdraw left palm to the place in front of the left part of waist, with palm facing obliquely upward and fingers pointing obliquely forward. At the same time, raise left foot and move it rightward to land in the front and form an empty stance, with toes on floor and heel raised. Face is turned due east, with eyes looking ahead. (Fig. 195) Points to remember: (1) When shifting weight to the right, you must tura the body to the right at the same time, and sit firmly on right leg. In doing so, you can raise the left leg naturally and easily. If you do not turn the body, you will find it difficult to raise the leg and your body cannot remain steady. (2) "High Pat on Horse" is to stretch forward the right palm with its edge pointing to the front to hit the opponent. Therefore, see that the right hand is bent inward with wrist erect, and the fingers are not pointing towards the front, but a little to the left. (3) "High Pat on Horse" is a higher posture with a left empty step. As the right arm stretches forward, the upper part of the body also moves

a little forward and upward, but take care not to incline the body forward. The stretched right hand is a little bit higher and is on a level with the eyebrow.

Form 37

Separation of Right Foot

(1) With the waist taking the lead, move the four limbs and turn body rightward. After shifting weight on to the right, sit firmly on right leg and cliange left foot into an empty stance. Both arms are moved in an are at the same time. Right arm is moved from the front rightward and backward until it is in front of chest, with palm facing downward; left arm is moved in an are from inside outward and forward, with palm facing obliquely upward. The two palms face each other. (Fig. 196) (2) Continué to move both arms in an are; right arm is moved backward and left one forward. At the same time, stretch left foot out to the left side (45 degrees) in the northeast direction, with heel coming down on floor and toes raised. (Figs. 197-198) (3) Shift weight gradually to the left to form a left bow step. Continué to move both arms in an are. Right arm is moved half stretched to the right 117

Fig. 197

Fig. 198

side, with palm facing obliquely downward; left arm is placed in front of abdomen, with palm facing obliquely inward. (Fig. 199). (4) Turn body from right to ihe left side (45 degrees), that is, in the direcíion of the toes. Then, shift weight forward again and raise right foot gradually off the floor. Following íhe waist, pul! both arms to the left side (45 degrees) to form an oblique cross, with the left palm on the inside and the right palm on the outside; both palms face inward. (Fig. 200) (5) While shifting weight forward again, stand up on left leg and raise right leg with instep stretched íight. The two arms are turned to the left and right sides, with the palms gradually turned outward. Body is turned towards the southeast direction. (Figs 201-202) (6) Right foot kicks towards the right side, with the instep straightened. At the same time, stretched both arms and sepárate them to the left and right sides, with both palms facing outward. Face is turned to the southeast, with eyes looking to the front in the southeast direction. (Fig. 203) Points to remember: (1) Each of the two arms move in a circle separately. Right arm is moved from inside outward and then inward again. In the course of moving in an are, both arms are moved horizontally, and the upper arm is always on 118

Fig. 200

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the top while the lower arm is always below, and this position should not be changed. After moving in an are, the two arms are in a position of pulling. Note that the body inclines to the right side, and knees and elbows are apposite to each other. (2) Note the direction of both oblique anales. While moving the arms round to do the pulling action, turn face to the right oblique angle and pulí arms to the left side; while both hands are crossed, body is turned towards the left oblique angle; while kicking with right foot, body is again turned towards the right oblique angle. (3) The pulling action should follow the lead of the waist, especially the upper limbs. See that the back follows the movement of the waist, and the arms follow the movement of the back, and the wrists and hands should move along with the back and arms. You should not turn the wrists only as if they have no connections with the arms. If this should happen, then the Biovements are not led by the waist. (4) When standing up on the left leg, the left leg seems to be straight but not actually so. That is to say, it is not quite straight, ñor should you fcend it too much. (5) With regard to the direction of arms, the right arm is in the same 126

tUp. i-ioht lee, and the left arm is placed to the left rear (135 dedirection as the ngm g, grees).

Form 38

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. Bend left arm inward to the front of the chest, with palm facing ob1 downward; turn right arm inward at the same time, with palm fact"i¡auely upward. Both palms which are apart face each other. Bend

rieht leg- (Fig. 204) (2) Bend left leg and lower right leg to let it fall with the heel coming floor and toes raised, pointing to the southeast. At the same time, down on •e both arms in an are, the right arm is moved from front leftward and • -ard while the left arm is moved from inside rightward and forward. (Fig. 205)

Fig. 204

Fig. 205

(3) Bend right leg. Continué to move both arms in an are to both sides, forming left and right pulling positions. (Fig. 206) (4) Turn body from left to right. With the waist taking the lead, pulí both arms to the right side. Then, af ter shifting weight on to right leg, raise left foot from the floor, and put right arm on top of left arm to form an oblique cross. (Fig. 207) 121

Fig. 206

Fig. 207

(5) While shifting weight forward, stand up on right leg and raise left leg with instep stretched tight. Turn the two arms to the left and right sides, with palms turned outward. Body is turned towards the northeast. (Figs. 208-209) (6) Left fcot kicks towards the left side, with instep straightened. At the same time, stretch both arms and move them to lefí and right sides, with the two palms facing outward. Face is turned to the northeast, with eyes looking at the front in the northeast direction. (Fig. 210) Points to remember: The points are the same as those in the preceding form, only reversíng "right" and "left".

Form 39

Turn and Kick wiíh Lefí Heel

(1) Left leg is bent downward, with toes pointing downward. (Fig. 211) (2) Both arms are turned inward, with palms facing inward. (Fig. 212) (3) With right heel as the axis, turn body to the left rear (135 degrees), from the northeast to due west; keep the left leg bent, with toes 122

Fig. 210

Fig. 211 123

(4) Sepárate the arms towards two sides. Left arm points in the direction of due west, with palm facing outward; right arm points in the direction of northeast, with palm facing obliquely outward. At the same time, left heel kicks forward, with toes pointing upward. Face is turned due west, with eyes looking straight forward. (Fig. 214) Points to remember: (1) While turning bcdy from right to left, take right heel as the axis. This is because the empty stance and solid stance are not changed though the direction is changed. Use the waist to coordínate the balance of the upper and lower limbs, because the waist dominates the movement of the whole body. (2) While kicking left heel forward, be sure to keep the toes upward. The main point of kicking left heel forward is basically the same as the separation of left foot. The only difference is that in the former action you keep the toes upward, while in the latter case, the toes point forward, with instep straightened. 124

Fig. 214

Form 40 Brasil knee and Twisí Step (Left Style) (1) Right leg is bent a little forward and left leg falls with heel coming down on floor first. Right arm is turned imvard, with palm facing obüquely upward; the right arm is then moved in a downward and backward are. Just before the right arm is raised to the shoulder level, bend its forearm upward, with palm erect; left arm is then bent to the place in front of abdomen. (Figs. 215-216) (2) With the waist leading, move the four limbs, turn the body from right to left and shift weight leftward to form a left bow step. At the same time, move both arms in an are; the left arm moves past left knee and then to its left side, with palm facing downward and fingers pointing forward; the right palm is stretched forward with palm facing forward. Face is turned due west, with eyes looking straight ahead. (Figs. 217-218) 125

Fig. 215 Fig. 216

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